
JUDSON T.WEBB 




Class ~J T%0 
Book_ 



_1 



Copyright If. 



COPYRIGHT DEPOSIT; 



POTTERY MAKING 



AN ILLUSTRATED TEXT BOOK ON ART POTTERY 
MAKING FOR TEACHERS AND ARTISTS 



BY 

JUDSON T. WEBB 

M 

Teacher of Clay Modeling- and Pottery Making, Lewis Institute, 

Chicago. Formerly Teacher at the Art Institute of 

Chicago, Graduate of the Boston Art School. 



PUBLISHED BY 
LEWIS INSTITUTE, CHICAGO 






COPYRIGHT, 1914 

BY 
Jl'DSON T. WEBB 




MAR 26 1915 



SI.A397306 



^C«y 



TABLE OF CONTEXTS 

Page 

Chapter 1. Pottery Building 9 

Chapter 2. Pottery Decoration 17 

Chapter 3. General Problems 23 

Chapter 1. Mould Making 31 

Chapter 5. Casting and Pressing 38 

Chapter 6. Glazing and Firing. ...... 12 

Chapter 7. Methods in Grade Work. . . 18 

Chapter 8. Preparation of Materials . . 70 



PREFACE 

The study of pottery involves the study of 
history, science, and art. Pottery, in its 
broadest meaning, includes all articles made 
of clay and baked in fire, such as stoneware, 
china, majolica, tile, and brick. 

The process of making clay into pottery 
has been practiced from remote antiquity, 
even by prehistoric races, and in many coun- 
tries at the present time, has developed into 
a vast commercial industry. 

The aim of this book is not to study pot- 
tery making as a commercial enterprise, but 
to place it on an educational basis from the 
standpoint of art. Such an aim will make 
necessary the elimination of all scientific 
processes that cannot be studied intelligent- 
ly by lower grade pupils. 

It is hoped that the problems in clay 
modeling, together with the simplified meth- 
od of glazing and firing, will present a man- 
ual art which can be practiced successfully 
in all school grades under the direction of 
the regular teacher. 



CHAPTER I 

Pottery Building 

Pottery is made up of body and glaze. 
Glaze is glass composition which gives the 
surface of the clay its finish and color. Clay 
is a mineral widely distributed over the 
earth's surface. It is found in different 
grades of quality and color. 

This course will not explain the manu- 
facture of all kinds of pottery, such as china. 
stoneware, and majolica which require dif- 
ferent grades of clay, but will confine itself 
to art pottery which can be made of almost 
any plastic clay that will stand 2000 degrees 
heat. 

The adapting of the glaze to the clay is a 
problem in chemistry which is in advance of 
grammar school work and can not be taken 
up there successfully. It is, therefore, neces- 
sary to use prepared clay and glazes. Pot- 
tery materials for public school work (and 
including clay, glazes, underglaze colors, and 
also tools and kilns) are on the market. 



Therefore, with the aid of this manual, 
the regular public school teacher can use pot- 
tery making in the school-room. 

There are several methods of making pot- 
tery forms, viz., modeling from the mass of 
clay, building with coils, wheel building, 
casting and pressing with moulds, and 
throwing on the wheel. Modeling from the 
mass of clay is used in making tile, clocks, 
candlesticks, etc. Building with coils is used 
in making vases, lamps, and jardinieres. 
Where a potter's wheel is available, large 
fern-bowls and jardinieres may be built with 
coils with the aid of the wheel. This method 
is called wheel building. In order to do suc- 
cessful work in casting and pressing it is 
necessary to be able to make moulds. Throw- 
ing pottery forms on the wheel is an ancient 
method of making pottery employed by the 
Greeks and Egyptians. It is now used in 
some of the large commercial potteries, but 
on account of the expense of equipment and 
the amount of practice necessary to enable 
the student to make the simplest forms, 
throwing has not been taken up to any ex- 
tent in the public schools. 

The first problem in the course is a spill, 
5" high and 3" in diameter. It may be given 

10 




to any class of beginners above the fourth 
grade. The spill is 
built with coils as il- 
lustrated in the cut. 
The base is made 3" in 
cliam. and V± thick 
by pressing into shape Prob. 1 

with the thumb, a small lump of clay. A 
coil, long enough to reach once around the 
base, V>2 in cliam., is rolled on a flat surface 
and placed on the edge of the base work- 
ing it into the base both inside and outside. 
Care should be taken to weld the parts thor- 
oughly. Other coils are made, placed in 
position and welded in the same manner 
until the required height is reached. 

Little time should be spent in finishing the 
surface during the building. Much better 
results in finishing can be obtained when the 
clay is leather hard. There is also an advan- 
tage in building as much as possible in one 
sitting. 

TVnen the spill is in condition to finish, a 
steel finishing tool is used. First, the top is 
made level, then the inside circle is cor- 
rected, using the curved edge of the tool. 
The outside edge at top is worked down until 
parallel to the inside edge, making the wall 

11 



uniform in thickness. The outside surface 
is made smooth by means of a diagonal 
stroke with the straight edge of the tool. A 
final finish is given by rubbing the surface 
with the finger dipped in water. Sandpaper 
should never be used as it is not sanitary in 
public school work. When the spill is thor- 
oughly dry it is ready for the biscuit firing. 
Problem 2 is a vase 6" high and 3" in cliam. 
at the largest part. The base 
is 2" and the opening at top 
is 1%" in diam. The widest 
part of the vase should be 4" 
from the bottom. The coiling 
is commenced the same as the 
spill. The wall is built on a 
prob. 2 straight slant to about 4" high 

where the diam. should measure 3". At this 
point the coils are gradually made shorter, 
which will curve the wall until the required 
height is reached. The curve at the top 
should end tangent to a horizontal line. 
When the vase is leather hard, it is finished 
with a steel tool the same as the spill. 

Problem 3 is a bowl 4" high and 5" in 
diam. at the largest part. It is 3%" in diam. 
at the bottom and 3" at the top. The wall 
should slant more than in problem 2 with a 

12 




slight curve up to 3" high. 
The coils are then gradu- 
ally made shorter, curv- 
ing the wall in and then 
up, forming a double 
curve. The curve should 
end at the top tangent to 

a vertical line. 

The lines introduced in problems 1, 2 and 

3 form the basis of most pottery forms, as 

illustrated in cuts 4, 5, 6 and 7. 




Prob. 3 




Fig. 4 



Fig. 4 gives three examples illustrating 
the straight line as used in pottery forms. 
These forms may be used to great advantage 
in the study of applied design for beginners. 



13 



using straight lines, incised, 
given in chapter 2. 



Instruction is 




Fig. 5 

The single curve lines may be used in 
many beautiful forms b}^ changing the pro- 
portion, as illustrated in Fig. 5. 




Pig. 6 

The double curve as given in Figure 6, is 
used very generally in vase forms. 

14 




Pig. 7 

Fig. 7 illustrates the single curve in- 
verted. Many useful forms in utility ware 
are based on these lines, such as pitchers, 
teapots, lamps and fernbowls. 

Problem 5 is a square candlestick, 7" high, 
the base 5" square and the top 2" square. 
The candlestick is made from the mass of 
clay in three sections, top, shaft, and base. 

The base is made first by pressing out a 
mass of clay with the thumbs into a square 
tile 5" by 5" and 
%" thick. The 
shaft is made by 
beating out a 
mass of clay into ^ # 
a solid oblong 6" WL _ 
long, 2" by 2" 
square at base Prob 5 




15 



and 1" by 1" square at top. The top is 2"x 
2"x 1 /2". These sections are cemented to- 
gether with slip (clay reduced to a liquid 
with water to the consistency of cream) and 
thoroughly worked together with a modeling 
tool. Clay is modeled in at the base and top, 
forming the curve as in cut. When leather 
hard the surface is scraped smooth with a 
steel finishing tool. A cavity is cut through 
the bottom about 2" up into the shaft to pre- 
vent breaking in the biscuit firing. A round 
cavity %" deep is made in the top to hold 
the candle. 

Problem 6 is a square tile 6" by 6" and %" 
thick. It is pressed into shape with the 
thumbs from a mass of clay. When leather 
hard it is finished with a steel scraper. Four 
panels 2"x2"x 1 /T deep are cut in the back 
to prevent warping. 

The tile may be decorated according to 
instruction given in Chapter 2. 




16 



CHAPTER II 

Pottery Decoration 

It is not the purpose of this chapter to 
give instruction in the principles of design, 
but to give a few simple examples of decor- 
ated pottery to illustrate what is appropri- 
ate in pottery decoration. 

There are three general principles upon 
which all true decoration is based and these 
should be recognized in pottery decoration 
as well as in other fields. These principles 
are known as Rhythm, Balance, and Har- 
mony. Any good book on design will give 
the student definition of these principles. 

There are several methods of applying 
decoration to pottery, viz. : insizing, inlay- 
ing, relief designs by depressing the back- 
ground, relief designs applied, and tinder- 
glaze painting. 

In each method the decoration should be 

17 



so arranged as to be a part of the form and 
not to disturb the lines of beauty in the form 
itself. 

Naturalistic forms should not be used as 
units of design unless governed by the prin- 
ciples of design. They should be conven- 
tionalized and arranged according to the 
laws of rhythm, balance, and harmony. 

Insizing is a simple method of decorating 
vases and tile with outline designs. The de- 
sign is drawn or traced on the object with a 
pencil when it becomes leather hard, the 
pencil point making a slight depression in 
the clay. When the design has been ar- 
ranged and corrected, a Y-shaped or round 
pointed tool is used to retrace the lines, cut- 
ting the design well into the clay. Care 
should be taken in cutting clear and uniform 
lines. 

A square spill 7" high, 4" by 4" at top and 

13" by 3" at bottom is given to illus- 
trate this method. The spill is built 
with coils and decorated with an 
original design based upon sugges- 
tions given in Fig. 1. Sharp rough 
edges should be softened by rub- 
Fig. i bing them lightly with the finger 
dipped in water. 

18 




The square fern bowl given in Fig. 2, is an 
example of inlaying with imderglaze color. 
It is inlaid with apple 
green under a mat ivory 
glaze. The instruction for 
building is given in Chap- 
ter I. 

Inlaying with imder- 
glaze color is a method of 
decoration used where a contrast of color is 
desired. The design is made in broad lines 
or masses. The design is applied as in Fig. 
1 when the object is leather hard, the masses 
being sketched in outline. A square end 
modeling tool is used to cut out the design to 
the depth of one-sixteenth of an inch. 

The under glaze color, which is usually 
full strength, is mixed with clay, the amount 
depending upon the tint desired. For me- 
dium tints an equal amount of clay should 
be used. This should be mixed with water 
to the consistency of modeling clay and 
ground thoroughly with a palette knife on 
glass. 

Small portions of the mixture are rolled 
into coils in proportion to the size of the 
grooves. Sufficient water is painted into 
the groove with a brush to moisten the clay. 

19 



The design is then filled in with the color 
level with the surface. 

It is not necessary to keep the color from 
spreading over the edges of the design, as, 
when the color becomes hard, the surface is 
scraped smooth with the straight edge of the 
steel tool. This removes the surplus color 
and the design is brought out in clear out- 
line with the background. The sharpness of 
the outline will depend upon the care taken, 
when cutting the design, in keeping the 
edges true and uniform. 

Many color schemes may be used with 
good effect with this method. A few color 
suggestions are given as follows: green un- 
derglaze under light gloss green, dark brown 
under light gloss brown, blue or green under 
mat ivory. 

I liderglaze colors are colored clays, not 
glazes and can be used under the glaze only. 
When used otherwise the color will not be 
full strength and will have but a biscuit ef- 
feet. When the object is dry, it is fired in a 
biscuit kiln, after which it is glazed and fired 
in a gloss kiln. See instruction under glaz- 
ing and firing. 

Relief decoration by depressing the back- 
ground is a method which produces very sat- 

20 




isf actory results. This method is illustrated 
in Fig. 3, a round 



fern-bowl 8" in diam. 
and 3" high, not in- 
cluding feet. The de- 
sign is applied as in 
Fig. 2. Instead of 
cutting out the de- 
sign as in Fig. 2, the background is cut 
away, leaving the design standing out in re- 
lief. The background should be cut down 
about one-eighth of an inch deep. This 
should be done when leather hard, keeping 
the bowl this consistency with a damp cloth 
until completed. 

Relief decoration by application is done 
by modeling the design in relief upon the 
surface of the object as in sculpture. This 
method is illustrated in the nut set given in 
Fig. 4. The forms are built and kept moist 
until the design is applied. The clay may 
then be allowed to become leather hard and 
the details worked out with a wooden or 
steel modeling tool. 

The large bowl is 10" in diameter and 3" 
high and the small bowls are 4" in diameter 

21 




Fig. 4 

and 1%" high. The set is glazed in a mat 
green mottled with brown. 

Under glaze painting is done by applying 
the color with a flat sable brush while the 
clay is damp. The color is mixed with clay 
and water to the consistency of artist's oil 
paint, the tint depending upon the amount 
of clay used. The color should be applied 
thick enough to cover the clay thoroughly. 
The effect is similar to in- 
laying as the glazes are 
applied over in the same 
maimer using the same 
color schemes. Good re- 
sults may he had in land- 
scape effects, as illus- 
trated in Fig. 5 on a tile. Fig. 5 
The tile is 6" by 6" modeled according to in- 
structions given in Problem 6, Chapter I. 




22 



CHAPTER III 

General Problems 

This chapter is devoted to a few practical 
problems in hand-built pottery, the methods 
of work being given in Chapter I. The first 
problem is a vase 14" high 
and 6" in diameter at the 
largest part. The base is 4" 
and the top 3" in diameter. 
It is built by the coil method, 
using coils %" in diameter. 
The decoration is in relief by 
depressing the background. 
The depression is greatest 
near the edge of the leaf. 
There is also a slight depres- 
sion on the leaf near the edge 
which gives the leaf the ap- Pr X { 
pearance of turning up at the edge. A small 
ridge divides the leaves and gradually dis- 
appears as it descends. The vein in middle 
of the leaf is made by using a downward 
stroke with the steel tool. A mat bronze or 

23 





a green glaze mottled with blue is a suitable 
color for this vase. 

Problem 2 is a clock, the design given be- 
ing only a suggestion. Other sizes and pro- 
portions may be made 
with good results. The 
three parts — top, body 
and base — are made sepa- 
rate and solid from the 
mass of clay. These parts 
are then modeled togeth- 
er carefully, using slip as Prob - 2 
a cement. The opening for the clock is 
not made until in condition to finish. On 
account of the shrinkage of the clay, which 
is about one-eighth of an inch to an inch, 
the opening for the works should be made 
one-eighth larger than the diameter of the 
works. Any color desired may be used 
for the glaze. Mat green or bronze are 
appropriate. Clock works may be had from 
any wholesale clock dealer. 

Problem 3 is a smoking set containing five 
pieces, tray, cigar holder, ash tray, and 
match holders. The tray is 8" by 11" and 
%" thick. It is made from the mass of clay 
pressed out with the thumbs. The rim is 
made by modeling a coil on the edge as in 

24 



building. When in condition to finish, four 
panels are cut in the bottom, as in the tile, 
to keep it from warping. 







Prob. 3 

The large jar is 5" by 5" at the bottom, 
4" by -f" at top and 6" high. Large coils 
%" in diameter are used at the base, gradu- 
ally decreasing in size toward the top. The 
outside surface is made flat and smooth with- 
out regard to the panels. When leather 
hard the walls are first made smooth with 
the steel tool ; the panels are then cut in one- 
fourth of an inch at the bottom, gradually 
decreasing in depth toward the top. The 
lid is made from a mass of clay formed into 
a low square pyramid 5" by 5" with altitude 
±14". A coil is modeled on the under side, 
forming a rim that will fit inside of the top 
of the jar. A cavity is cut in the under side 
of the lid to hold a sponge. The match boxes 
and ash tray are made in the same manner 
as the large jar. A light brown mottled 

25 



with a dark brown mat glaze makes an ar- 
tistic finish for this set. 

Problem 4 is a suggestion for a plain desk 
set. It is 8" by 11" and 1" thick, made from 




Prob. 4 

the mass of clay pressed out with the thumbs. 
When formed, it is inverted and the feet are 
modeled on firmly. It is left in this position 
until leather hard. Panels are omitted in 
the bottom as the depressions in the top are 
sufficient to prevent warping. 

Depressions one-fourth of an inch deep 
are made in the top to hold the ink wells. 
The cavities at each end for stamps and pen 
points are 2" by 1'" and y 2 " deep. Lids are 
made one-fourth of an inch larger than cav- 
ity each way. A rim is made on the bottom 
of the lids to prevent them from sliding. A 
depression 7" long, 2" wide and y± deep is 
made in front for pens and pencils. Glass 
ink wells may be had at any stationery deal- 
er 's. A mat green or bronze finish may be 
used. 

26 






is held resting firm- Prob - 5a 



Problem 5 is an exercise in wheel finish- 
ing. A bowl 8" in diameter and 4" high is 
built with large %" 
coils. When leath- 
er hard, the bowl is 
made fast to the 
center of the wheel 
with slip. The tool 

ly on the crossbar, as in Problem 5b. The 
blade of the tool is brought near to the sur- 
face of the bowl, and, as the wheel revolves, 
the rough parts of the surface are gradually 
cut away until the tool makes a continuous 
cut around the bowl. The tool is moved up 
and down slowly 
until the surface is 
perfectly true. A 
steel scraper may 
be used to smooth 
the surface as the 
wheel slowly re- 
volves. 

Problem 6 is a ^ 
vase 12" high, 7" j 
at base and 5" at ^" 

top, built With Prob. 5b 

large coils and turned down on the wheel as 

27 





in Problem 5. The design is sketched on 
after the surface is made true on 
the wheel. The background is 
depressed, leaving the design in 
relief as Problem 3, Chapter II. 

Problem 7 is a mantle clock 
13" by 3" at the base and 8" high. 
The cylindrical part of the clock 
is 5" in diameter and 3" deep. 
It is built with large coils like a Prob 6 
spill. The top of the cylinder is inclosed to 
the size of the works to be used, allowing 
one-eighth for shrinkage. This inclosure is 
one-half inch below the top. The base of the 
clock should be built at the same time as the 
cylinder, as the shrinkage should be uni- 
form. It is made from a solid mass of clay, 
the panels being cut in when leather hard. 
A deep cavity is cut up under the base, leav- 
ing the wall about one-half inch thick. The 
cylinder is then cemented to the base with 
slip. A mat bronze 
glaze is used for a 
finish. It is fitted 
with a 21/2" dial 
eight-day works. 

Problem 8 is an 
electric lamp 12" Prob - 7 

28 




high, 8" in diameter at the base and 2y 2 " at 
the top. The base is made first from a solid 
mass of clay 7" in diameter and 1" thick. 
The first coil is made 1" in diameter and 
placed 2" from the outer edge of the base. 
It is blended down gradually to the edge. 
The next coil is placed a little nearer the cen- 
ter and modeled down, forming the curve 
at the base. Additional coils are placed in 
the same manner, narrowing the shaft to 
about 2" in diameter near the top. It is then 
curved out to about 3" at the top. A flat 
piece 3" in diameter 
and y/ thick is made 
for the top. A cavity 
is made in the top 
large enough to admit 
a tube through which 
the wire passes. A 
hole is also made in 
the side at the base to 
admit the wire. The 
lamp is glazed in mat bronze, and fitted with 
a glass or silk shade* to match. 

Problem 9 is a jardiniere with 3 handles. 
It is 12" in diameter and 8" high, built with 
large coils on the wheel. This method 
enables anyone who is proficient in coil 




29 




building, to make 

perfectly symmet- 

r i c a 1 forms any 

size consistent with 

hand-made p o t- 

tery. Circular 

forms can be built 

in as great variety 

shapes as in hand building. The handles 

are made separate and modeled on while 

damp. 

The method of building on the wheel is as 
follows : The base is pressed on the center 
of the wheel head with the thumbs and made 
true with the tool as the wheel revolves. A 
%" coil is made and applied as in hand build- 
ing. The wheel is then revolved slowly and 
the coil made true with a tool. The succeed- 
ing coils are applied in the same manner. 




30 



CHAPTER IY 



Mould Making- 
Mould making is a department in pottery 
work that requires mechanical skill, al- 
though it is not beyond the average eighth 
grade pupil. A potter's wheel is a valuable 
assistant, but not indispensable, in mold 
making. The following instruction is for 
the use of the wheel illustrated in Fig. 1. 

All pottery forms in 
this course, from which 
moulds are made, can be 
classed under three heads, 
viz., one, two, and three- 
piece moulds. 

The first mould to con- 
sider is made in one piece 
from a spill and is called 
a one-piece mould, as il- 
lustrated in Fig. 2. The 
model is made solid of 
clay the exact shape of 
the spill, 4" high, 2" at bottom and 2%" at 
the top. When leather hard, the model is 




Fig. 1 



31 




placed inverted on 
the center of wheel 
head npon which a 
clay tile 5" in diam. 
and 1" thick has been 
built and made true 
with the wheel tool. 

When the model has been centered as near 

as possible on the tile, as in Fig. 3, it is made 

fast to the tile with a slip. As the wheel re- 

_ volves it is turned 

true with the 

wheel tool. It is 

^^gjjg now ready for the 

mould, which is 
made without re- 
moving the model 
Fig - 3 from the wheel. A 

piece of linoleum long enough to reach 
around the tile and wide enough to extend 
1" or more above the bottom of the model, is 
placed around the tile and tied securely 
with a strong cord. This will leave a space 
l 1 /^' around the model inside of the linol- 
eum. A quantity of plaster of paris suffi- 
cient to fill this space to one inch above the 
bottom of the model is mixed according to 
directions given in Chapter YIII. The plaster 

32 




I 



is poured into the space slowly and allowed 
to remain until hard. The model is then re- 
moved by digging it out with a tool, being 
careful not to mar the mould inside. When 
the mould is thoroughly dry it is ready for 
casting, according to instruction given in 
Chapter V. 

Problem 2 is a bowl requiring a two-piece 
mould. It is 4" 
high and 5" in di- 
ameter at its wid- 
est part and grad- 
ually decreases 
each way from 
the center to 4" at pi s- 4 

bottom and 3%" at top. The mould is there- 
fore made in two parts, dividing at the long 
diameter, that it may draw both ways. 

The model is made solid of clay, and, when 
leather hard, it is placed right side up on 
the center of the 
wheel, without the 
tile, and made fast 
with slip. It is fin- 
ished with the tool 
as in Prob. 1. The 
long diameter is 
located and a cir- Fl§ '- 5 

33 




cumf erence line drawn from this point with 
a pencil as the wheel revolves. A wall of 
clay l 1 // thick is built around the model up 
to the line, being careful not to work it into 
the model. 

When the wall is made level up to the line 
it is made true with the tool, cutting a half- 
inch groove in the top, (see Fig. 5). This is 
to hold the parts of the mould together. The 
linoleum is then placed around the wall, let- 
ting it extend above the top of the model. Tie 
the linoleum securely and fill with plaster up 
to the top of the model. When the plaster is 
hard, the model is inverted and the clay wall 
removed, exposing the lower half of the 
model. The exposed edge of the mould is 
painted with dope, (see Chapter VIII). The 
linoleum is again placed around the mould, 
extending an inch above the bottom of the 
model. This space is filled with plaster, 
which completes the mould. When hard the 
parts are separated (the dope preventing 
them from sticking) , and the model removed. 
Directions for casting with a two-piece 
mould are given in Chapter Y. 

Problem 3 is a three-piece mould. The 
top of the vase turns out, preventing the 
upper half of the mould from drawing. 

34 




(See Fig. 6). The mould is made ac- 
cording to the same instruction for Prob- 
lem 2. When completed, the 
lower half is removed and 
the upper half is divided in 
two vertically. A diameter is 
drawn on the top and vertical 
lines are drawn down the side 
from each end of the diameter. 
A saw is used to cut into the 
mould following the vertical 
lines, cutting half way into the model. A 
thick knife or hatchet is used to crack the 
mould by driving it in carefully with a ham- 
mer. The com- 
pleted mould is 
shown in Fig. 7. 
The parts in the 
upper half are 
secured with a 
cord when cast- 
ing. 

Problem 4 is 
a handle mould. 

A model of the handle is made of clay and 
imbedded one-half in an oval clay tile. The 
tile should be large enough to allow a l 1 /^" 
wall around the handle. A narrow piece of 

35 







linoleum is placed 
around the tile, ex- d 
tending 1" above the 
handle. This space 
is filled with plaster 
to 1" above the han- Fig - 8 

die. The handle is inverted and the clay re- 
moved. Three or four circular cavities are 
cut in the wall of the mould, located one- 
half inch from the model, as in Fig. 8. The 
plaster wall is painted with dope and the 
remainder of the 
mould is made 1" 
thick. The mould 
is then separated 
and the model re- 
moved. A half- Fi §- 9 
round groove %" wide is cut around the 
handle in both halves, bringing it up close 
to the edge of the cavity. This groove is a 
receptacle for the surplus clay as the handle 
is formed by pressing the parts together. 
Problem 5 is a spout mould, made in the 
same manner as the handle mould, leaving 
the ends open, as in Fig. 9. 

Problem 6 is a lid mould. The model is 
made of clav and finished on the wheel. It 



36 





is placed right side up on a clay tile, centered 
on the wheel and large enough to allow a 
one-inch wall for 
the mould. Plas- 
ter is then poured 
up to the edge of 
the model. The Fig . 10 

linoleum is removed and the division wall 
finished with the tool, cutting a groove 
as in the two-piece mould. See Fig. 10. 
The remainder of the mould is poured 
1" above the top of the model, after painting 
the division wall with dope. Instruction for 
the use of these moulds is given in Chapter 
Y. 




37 



CHAPTER V 

Casting and Pressing with Moulds 

Problem 1 is the use of the one-piece 
mould for casting. The slip is prepared ac- 
cording to directions in Chapter IX. It is 
poured from a can 
into the mould un- 
til the mould is 
filled to the top. 
See Fig. 1. The 
slip will gradually 
settle in the mould 
as it stands, caused 
by the water being 
absorbed from the 
slip by the porous mould. The mould should 
be kept full by pouring in more slip. A de- 
posit of clay is being formed on the inside 
wall of the mould, which is to be the body 
of the spill. When this deposit is thick 
enough, which is determined by scraping 
near the edge of the mould, the slip is 
poured out. In several hours, the spill be- 

38 





comes loose in the mould, caused by the 
shrinkage of the clay, and can be removed 
from the mould. It is finished with a steel 
tool and when dry is ready for firing. 

Problem 2 is casting with the two-piece 
mould. The parts of the mould are placed 
together, as in Fig. 2, ^assrn^ 
the casting process be- 
ing the same as in 
Problem 1. When the 
bowl is ready to be 
removed from the 
mould, the top part of 
the mould is taken off Fig." 2" 

and the bowl lifted out. All casting in the 
problems to follow is done according to the 
foregoing instruction. 

Problem 3 is a Chocolate Set, consisting 
of a pot and six cups, made in moulds. The 
moulds are in two pieces, made according to 
directions given in Problem 2, Chapter IV. 
The spout in the pot is not made in the 
mould but modeled on solid after the pot is 
cast and when leather hard, shaped with a 
tool. The handles are made of strips of 
clay and modeled on with slip when hard 
enough to keep their shape. The set is 
glazed in brown and white enamel drip. 

39 




Fig. 3 

Problem -1 is a tea set consisting of a tea- 
pot, sugar-bowl and creamer. They are 
made in two-piece moulds with, the use of the 
lid, handle and spout moulds. The lids are 
cast in the moulds with slip, as a two-piece 
mould. The handles are pressed into the 




Fig. 4 

moulds, using regular model-clay. A coil of 
clay a little larger than the handle is rolled 
and made slightly flat. It is placed in one 
side of the mould. The other side is pressed 
down firmly in position and the surplus 
clay is forced out into the groove, leav- 
ing the handle perfect in form. The han- 

40 



die is trimmed and fitted to the body and 
modeled on with slip. The spoilt for the 
teapot is made in the mould by pressing a 
thin sheet of clay in each side, letting the 
edge project. Slip is painted on the edge 
and the parts pressed firmly together. The 
spont is fitted to the body and four small 
holes are cut through under where the spout 
is to go. The spout is then modeled on with 
slip. 

The spout on the pitcher is made in the 
same manner as the 



spout on the choco- 
late pot. 

When 1 e a t h e r 
hard, the set is fin- 
ished with a steel 
tool ready for fir- 
ing. Several sug- 
gestions for color 
are given, as fol- 
lows : Light blue 
with royal blue drip 
or blend, in gloss 
glaze, light gloss 
yellow with brown 
drip or blend, gloss green and white 
enamel blend, mat green, and mat blue gray. 

41 




CHAPTER VI 

Glazing and Firing 

Most pottery is fired in a biscuit kiln be- 
fore it is glazed. It must be thoroughly dry 
before it is stacked in the kiln as the least 
dampness in the pottery will cause it to 
break in the firing. Biscuit and glaze ware 
are fired in the same kiln but not at the same 
time. The biscuit should be fired more 
slowly than the glaze during the first hour, 
although the temperature need not be as 
high, 06 cone being used for biscuit and 05 
for glaze. 

In stacking a biscuit kiln, the large pieces 
are placed on the bottom as close together 
as possible, placing small ones inside of 
large ones, as it does not injure them to 
touch. When the muffle is full the kiln is 
closed. To light the kiln, a little oil is al- 
lowed to run into the pan of the burner in 

42 



which a piece of paper is placed. A match 
is applied to the paper and the kiln starts to 
burn. 

A small stream of oil just beyond a fast 
drop is then turned on. The flow is in- 
creased a little every half hour until it be- 
gins to get red inside, when all the oil may 
be turned on that can be consumed without 
making smoke. It 
is impossible to 
burn oil success- 
fully without suffi- 
cient d r a u g h t . 
Either the flames 
will p roclnce 
smoke, or it will 
take too long to 
reach the degree of 
heat r equire d. 
Good combustion 
produces a flame 
without smoke and 
can be secured only by sufficient draught to 
furnish the necessary oxygen. A 9" 30' 
stack is not too large for small pottery kilns. 
Too much draught should be checked with a 
clamper. 




The temperature is registered with an 06 
cone placed in the kiln about 5" back from 
the spy hole. The cone can be seen as soon 
as it becomes light in the kiln. As the heat 
increases more oil is added, until the cone 
begins to bend at the top. It will soon turn 
into a hook when the oil should be shut off. 
The kiln should cool several hours before 
opening. 

The ware, as it comes from the kiln, is 
called biscuit and is ready to be glazed. 
Glazing is an important part of pottery 
making, as good results depend upon a defi- 
nite knowledge of the requirements. The 
glaze must be of the proper consistency to 
cover the body thoroughly. If too thin, the 
biscuit will show through when fired. If 
too thick the ware will have a clumsy ap- 
pearance. Glaze is put up in a powder form 
which dissolves readily in water with which 
it is reduced to the consistency of cream. 
No other ingredient is necessary. 

Enamel wash-basins are desirable in 
which to mix glazes. Drinking cups and 
glaze brushes are also necessary equipment. 

The inside of the vase is glazed first by 
pouring in half a cup of glaze. It is turned 

44 




two or three times horizontally before pour- 
ing out. This should be clone rapidly or too 
much glaze will be absorbed. All spots not 
glazed are touched 
up with the glaze, 
brush. The outside 
is glazed by holding 
it at the top or bot- 
tom, as illustrated 
in Fig. 2. The cup 
is filled with glaze, 
and as the vase is 
revolved forward 
the glaze is poured 
over rapidly. It is 
not necessary to 

cover the space around where it is held at 
first pouring, as it may be inverted and a lit- 
tle glaze may be poured over it. The remain- 
ing spots are touched up with a brush. It 
will require a little practice to enable any 
one to cover the vase well in one pouring. 
Practice makes perfect, in this as in many 
other things where technic is required. 
Different effects, such as drip, bronze, 
blended and mottled, are made by first glaz- 
ing the vase with the under tone, the remain- 
ing glaze being applied with a brush. To 

45 



Fis 



produce a bronze, the vase is glazed in mat 
brown with green No. 11 spatted on with a 
brush. The green and blue mottled effect is 
made by glazing with mat green No. 11, the 
mottled effect being produced by spatting 
with mat blue. The blended effects are made 
by blending the over color with a downward 
stroke of the brush from the top. In drip 
effects the light color is put on first and the 
dark color painted on in the form of a drip. 
White enamel is the only glaze that can be 
used as a drip over a dark color. Glaze dries 
immediately and may be stacked in the kiln 
as soon as enough pieces are glazed to fill the 
kiln. 

Care should be taken in stacking a glaze 
kiln, as some glazes are placed on the bot- 
tom and others on the shelf, on account of 
the difference in temperature required to 
develop them. There is a higher tempera- 
ture on the bottom under the shelf than on 
the shelf. This must be taken into consider- 
ation. 

All soft mat glazes develop in the heat reg- 
istered with 05 cone and must be placed on 
the shelf upon which the cone rests. All gloss 
glazes and hard mat glazes require several 
degrees more heat and are placed on the 

46 



bottom under the slielf where they receive 
sufficient heat to develop them at the same 
time 05 cone turns. All pieces must be 
placed on stilts and at least one-fourth of 
an inch apart as when the glaze melts it be- 
comes soft and the pieces, if touching, would 
stick together. 

When the kiln has been stacked and 
closed, the fire is started the same as in the 
biscuit firing, but the oil may be increased 
more rapidly. 




47 



CHAPTER VII 

Methods in Clay Modeling for Graded 
Schools. 

This chapter is an outline of form study, 
including pottery making as it may be 
taken up in the grades. The problems 
given are the type forms together with nat- 
ural objects and pottery forms which are 
based on the type forms. 

The making of finished pottery objects in 
the various color effects creates an interest 
in the work that cannot otherwise be had. 
The best results can be obtained in sys- 
tematic training only where the teacher can 
arouse a genuine interest in the subject. 

Ideas can be expressed in clay better than 
in almost any other medium. The express- 
ing of an idea develops original power, and 
as the constructional faculties are developed 

48 



the child is better able to deal with matters 
in his general school work. 

Pottery work is therefore well adapted 
to this system of development. The making 
of a piece of pottery involves several dis- 
tinct processes, and when the process is com- 
pleted it is real and is evident of self -activ- 
ity, which is the fundamental condition of 
knowledge and development. 

The equipment necessary for work in the 
grades is as follows: A smooth board 8 
inches by 10 inches with a cleat nailed on 
one edge to raise it to a horizontal plane, 
should the pupil work at the desk. Plaster 
plaques are best to model on, but, if they 
cannot be had, a sheet of paper the size of 
the base of the object will do. This keeps 
the clay from adhering to the board so that 
the object may be turned around. A steel 
finishing tool and a boxwood modeling tool 
are used in the upper grades. In the lower 
grades tools that are needed can be made by 
pupils. Each problem will mention the 
tools to be used when needed. Sandpaper 
should never be used, as the dust created is 
breathed by the pupils and is therefore in- 
jurious. 

49 



FIRST YEAR 

Lesson 1. The Sphere 

Sufficient clay is given to each pupil to 
make a sphere 2" in diame- 
ter. All but a small portion 
of the clay is taken between 
the thumbs and fingers and 
made into a solid mass, mak- 
ing it as round as possible 
by revolving and pressing Fi& x 

at the same time. Uneven 
places may be rilled with the surplus clay. 




is 
in 



Lesson 2. The Apple 

The apple is made 2" in diameter. The 
clay is worked into a spherical form first. 
The shape of the apple 
then formed by mak- 
the depressions for the 
stem and blow with the 
thumb. The stem is made 
of a small coil of clay. The 
apple should be given in one Fig. 2 

lesson. No extra finish should be given it 
with a tool, and it would be too hard to work 
with the fingers when leather hard. 




50 



Lesson 8. The Cube 



The cube is 2" square. It is formed 
with the thumbs and fingers, 
pressing the faces into shape 
with the thumbs. The corners 
and edges are formed by work- 
ing them out between the thumbs 
and lingers. Surplus clay may be 
added when needed. 




Fig. 3 



Lesson 4. The Square Ink Well 



square at the base 
The lid is one-fourth 



The ink well is 2 
and 2" high with lid. 
of an inch thick 
and has a small 
circular piece stuck 
on the bottom to fit 
in the cavity to keep 
it from sliding. A 
cube is made first. For the lid a section is 
then cut off with a thread. The cavity for 
the ink is made by pressing the thumb down 
into the top, working the clay around care- 
fully. This will change the form to some 
extent, but it can be worked back with the 
thumb. 




51 



Lesson 5. The Cylinder 



The cylinder is made 3" high and l 1 /^' in 
diameter. It is modeled with the 
thumbs and fingers like the cnbe. 
The cylindrical surface is studied 
and compared with the sphere. It 
should not be rolled on a flat sur- 
face, but each face and edge should 
be modeled carefully. 




Lesson 6. The Spill 



A lump of clay is made into a solid form 
the size and shape of the cylinder. It is not 
necessary to finish the surface. 
The thumb is carefully pressed 
into the top, working the wall be- 
tween the thumb and fingers as it 
is revolved. The spill will be some- 
what larger than the cylinder on 
account of pressing the wall out. Care 
should be taken to keep the wall straight 
and uniform in thickness. The spill should 
be made in one lesson, as the clay must be 
fresh and plastic when worked into shape. 




52 



Lesson 7. The Mug 

The mug is made the same as the spill, 
3" high and 2" in diameter. The wall is made 
thin by pressing between the 
thumb and fingers. The sides 



<i 



may be made to flare at the top 
to about 2%" in diameter. The 
handle is made by rolling a piece 
of clay into a coil on the desk %" in diame- 
ter. It is bent into shape and fitted care- 
fully to the mug and cemented on with slip. 

Lesson 8. The Candlestick 

The candlestick is made in two parts. 
First make a tile V in diameter 
and y 2 " thick. The candle holder 
is made like the spill 3" high and 
1%" in diameter. The candle is 
a small cylinder with a burnt 
match used for a wick. The han- 
dle is made and stuck on like the mug handle. 
All parts are united with slip. 

53 





SECOND YEAR 
Lesson 1. The Hemisphere 

Review the sphere, making it 2" in diam- 
eter. Cut the sphere in two with 
a thread. Study the faces care- 
fully, comparing circular, spher- 
ical and cylindrical faces. Give 
the name hemisphere. 

Lesson 2. Teacup and Saucer 

The teacup in this lesson is based on the 
hemisphere. Make a sphere 2" in diameter 
and cut in two with a thread. One-half 
is made into the cup by 
pressing the thumbs into 
the flat face, bringing 
the sides up with the 
thumbs and fingers. The 
handle is made of a small 
coil. The other hemisphere is made into a 
saucer in the same manner as the cup. 

Lesson 3. The Square Prism 

The square prism is modeled like the 

54 




cube, making it 3" high, and 2" wide 
on each side. Compare the oblong 
and square faces, giving the name 
oblong face. For an exercise in 
cutting, a thin slab mar be cut 
lengthwise of the prism with a 
thread. 




Lesson 4. A Jewel Box 




Make a square prism 3" long and 2" wide, 
finishing it carefully. Cut a slab lengthwise 
14" thick, being careful to 
make it uniform in thick- 
ness. The exercise in cut- 
ting in Lesson 3 should help 
in this work. This slab is 
used for the lid. A thin slab 
is stuck on the under side 
and made to fit the inside of the box to 
keep the lid in place.- The box is made 
hollow by cutting out the clay with a square 
end wood tool. The tool can be easily made 
from a small stick by the pupils. It is about 
4" long and V/ wide, with a thin wedge- 
shape end. The walls of the box are Vj." 
thick. 



Lesson 5. The Ellipsoid 

The ellipsoid is made 3" 
long and 2" in diameter in the 
same manner as the sphere. *jj 
Compare the surface with the 
sphere. 

Lesson 6. The Lemon 

It would be of advantage, in modeling the 
lemon, to have the natural 
object for a model. Make 
it as near in size and shape 
of the object as possible. 
The ellipsoid is modeled 
the size of the lemon. It is then compared 
with the lemon and the necessary details 
worked out. 

Lesson 7. A Yase 

An ellipsoid is made 4" long and 2%" 
in diameter. About y 2 n is cut 
off from each end with a thread. 
The hollowing out is done by 
pressing the thumb in at the top, 
forming the vase according to di- 
rections given in Lesson 6, first 
year. 

56 





THIRD YEAE 

Lesson 1. The Equilateral Tr. Prism 

The prism is 3" high and each face is 2" 
wide. It is modeled like the 
square prism. Cross sections are 
cut from the end 14" thick with 
a thread. These sections are 
called equilateral triangles. 




Lesson 2. The Chicken Coop 

The chicken coop is made with two equi- 
lateral triangles, 3" on a side and 14" thick, 
and six oblongs 3" long, %" wide and y± 
thick. These parts are made 
during one lesson and al- 
lowed to become leather 
hard. They are covered with 
a damp cloth and wrapped 
in a piece of newspaper to 
keep them from getting too dry. The next 
lesson is devoted to sticking the parts to- 
gether with slip, placing the oblongs at the 
top, bottom and middle of the sides of the 
triangle. 




57 



Lesson 3. The Ovoid 



The ovoid is 3" long and 2%" in diameter. 
It is modeled like the 
sphere, using the type 
form for a model. Com- 
pare the ovoid with the 
ellipsoid, noting the dif- 
ference in the curves, 
one end being like the sphere and the other 
more pointed. 




Lesson 4. The Pear 

The pear is modeled like the 
apple. A pear should be used for 
a model if possible. Make the 
ovoid first as in Lesson 6, sec- 
ond rear. 



Lesson 5. The Square Pyramid 




The pyramid is 4" high and 2" 
square at the base. The side 
faces are triangles with the two 
sides longer than the base. Com- 
pare them with equilateral tri- 
angle. 




58 




FOURTH YEAR 

Lesson 1. The Cone 

The cone is 4" high and 2" in diameter 
at the base. It is modeled solid like the 
cylinder. Compare the surface 
with the cylinder. Make a cross 
section parallel to the base 2" up 
from the base. The lower half 
is a form upon which the cup in 
the following lesson is based. 
Give the name Frustrum of a^ 
Cone. 

Lesson 2. The Cup 

The cup is made with slanting straight 
sides, 3" high, 3" in diameter at top and 2" 
in diameter at bottom. The cup 
is built of coils according to di- 
rections given in Problem 1, 
Chapter I. A simple problem in 
decoration is introduced at this 
time by insizing a border around 
the top of the cup, using straight 
lines as units of design. An ori- 
ginal design should be used. Instruction in 
this work is given in Problem 1, Chapter II. 

Pieces may be glazed and fired to advan- 
tage at this stage of the work. 

59 




Lesson 3. A Vase Form 



The vase is 4" high and 3" wide within an 
inch of the top. The base is 
2" in diameter and the top 
1%". This vase is built with 
i/o" coils, according to in- 
struction given in Problem 2, 
Chapter I. It is decorated 
with an original insized bor- 
der design. If glazed, a mat 
green would be desirable over the insizing. 




Lesson 4. The Ink Well 



The ink well is 3" high and 3" square at 
the base. A solid pyramid is formed and 
a cross section is made parallel to the base 
li/o" from the apex. 
The top section is used 
for a lid and is pre- 
pared with a square 
piece on the under side 
to keep it in place. A 
square cavity to hold the ink is cut with the 
wood modeling tool, as in Lesson 4, second 
year. Gloss green No. 12, blended with white 
enamel is used for a finish. 




60 



i I 



Lesson 6. A Square Fern Bowl 

The fern bowl is made with coils W' in 
diameter. The base is 5" square and V^ 
thick. The coils are made long enough to 
reach once 
around the base, 
the corners being 
made sharp by 
pressing the coils 
from the outside 
between the fin- 
gers. The sides of the bowl flare, making 
it 6" square at the top. The sides are decor- 
ated with a simple panel design cut in with 
a square end modeling tool, the design being- 
drawn on paper and traced through on to the 
clay with a dull pencil. The background is 
cut out, leaving the design to stand out. The 
bowl may be glazed in bronze. 

Lesson 7. A Square Vase 

The square vase is 4" 
high, 3" square at top and 
2%" square at the bottom. 
It is built with coils and 
decorated with an original 
design insized with an insiz- 
ing tool. The va 
with mat sreen. 



ing tool. The vase is glazed 




61 



FIFTH YEAR 



Lesson 1. A Mug 

The mug is 4" high and 3" in diameter. It 
is built with coils and decorated with an in- 
sized design. The handle 
is made by rolling a coil 
y± in diameter, making 
it slightly flat. It is bent 
into shape, fitted to the 
mug and stuck on with 
slip. A yellow gloss 
glaze, blended with green No. 12, is suitable 
for the mug. 




Lesson 2. A Square Tile 

The tile is 4" in diameter and %" thick. 
It is made according to directions given in 
Problem 6, Chapter I. The 
decoration is an original in- 
sized design. The design is 
drawn on paper and traced 
through on the clay with a 
dull pencil when the clay is 
leather hard. Mat blue gray is a pleasing 
color for a tile. 




62 



Lesson 3. A Yase 



The vase is 5" high and 3" in diameter at 
the widest part, the top is 2" 
and the bottom is 21/2" . It is 
built with coils about %" in di- 
ameter, according to directions 
in Problem 2, Chapter I. The 
vase is glazed with a light blue 
body and a dark blue drip in either a mat 
or gloss glaze. 




Lesson 4. A Round Candlestick. 



The candlestick is 5" high, 4" in diameter 
at the base and 2" in diameter at the top. 
The shaft is 2" at the base 
and 1%" at the top. The 
base is made solid %" thick, 
and the shaft is made in a 
solid mass. The top is made 
V2" thick with a %" hole cut 
through for the candle. The 
three parts are stuck together with slip, fill- 
ing in at the base and top with clay to form 
the curves. A Cavity is cut up through the 
bottom into the shaft to prevent breaking 
in the firing. Glaze in mat green. 




SIXTH YEAB 



Lesson 1. An Oblong Fern-Bowl 

The fern-bowl is 6" long, 4" wide and 3" 
high. It is built with coils %" in diameter. 
The feet are made 1" square and y 2 " thick 
and stuck on with slip 
as soon as the coiling 
is finished. This is 
done by inverting the 
bowl and leaving it 
inverted until it be- 
comes leather hard. It is decorated accord- 
ing to Figure 3, Chapter II. 




Lesson 2. A Square Candlestick 

The square candlestick is made 6" high — 
in three parts, base, shaft and top. The 
base is 5" square, the top is 
2" square and the shaft is 2" 
square at the base and 1%" 
at top. These parts are stuck 
together with slip and the 
curves carefully worked ii. 
with clay as in Problem 5, 
Chapter I. It is finished in 
a mat bronze glaze. 




64 




The tile is 5" square and %" thick. In- 
struction for making is given in Problem 
6, Chapter I. The decora- 
tion is in relief and is 
modeled on with the fingers 
about Vs" high. A model- 
ing tool may be used in 
working out the details. 
The tile is glazed in mat 
blue. 

Lesson 4. A Square Vase 

The vase is 6" high, 4i/ 2 " at widest part, 
SYo" at base and 3" at top. 
It is built with coils and dec- 
orated with a design in relief 
by depressing the background 
according to the instructions 
given in Problem 3, Chapter 
II. It is glazed in mat blue 
gray, or any plain mat glaze, 
as mottled effects mar the dec- 
oration. 

65 



</" 



SEVENTH YEAR 



Lesson 1 — Vase with Handles 

The vase is 10" high, 6" in diameter at the 
widest part, 4" at the base and 3%" at top. 

It is built with y 2 " 
coils, the handles be- 
ing applied immedi- 
ately after the coiling 
is completed. The 
handles are iy±" wide 
and y± thick and are 
applied with slip, 
working them thor- 
oughly into the body 
of the vase. When 
leather hard the vase 
is finished with a steel scraper. It is glazed 
in a mat bronze. 




Lesson 2— A Tile Inlaid Effect 

The tile is 5" in diam- 
eter and %" thick, decor- 
ated with an original 
design. The design is 
drawn on paper and 
traced on the tile when 
leather hard. The design 




66 



should be in broad lines or masses and cut 
down about i/g" below the surface. This 
space is filled with underglaze, as in Fig. 2, 
Chapter II. 

Lesson 3 — A Tea Set 



The tea set includes a teapot, creamer and 
sugar bowl. The 
teapot is 5" in di- 
ameter and 6" high 
The creamer and 
sugar bowl are 3" 
in diameter and 
21/2" high. They 

are built with coils and the spout and han- 
dles are made by hand and applied as soon 
as the coiling is finished. They are glazed 
with light blue dripped with royal blue gloss. 





67 



EIGHTH YEAR 



Lesson 1 — Electric Lamp 




The electric lamp is 12" high, 
8" in diameter at the base and 
3" at the top. It is built with 
coils, as in Problem 8, Chapter 
III. It is glazed in a mat green 
color. 

Lesson 2 — A Vase 



5" 




The vase is 11" high, o m 
diameter at the largest part, 3" 
at top and 4" at base. The in- 
struction for making and dec- 
orating this vase is found in 
Problem 1, Chapter III. A 
green and blue mottle in the 
mat glaze is suggested for col- 
or. 



Lesson 3 — A Round Fern Bowl 

The fern bowl is 10" in diameter and 4" 
high. The three feet %" high are applied 
as soon as the coiling is finished. The de- 



68 




sign is in relief, 
made by depressing 
the background, as 
in Fig. 3, Chapter 
II. It is glazed in 
a mat bronze color. 



Lesson 4 — Pair of Round Decorated 

Candlesticks 

The candlesticks are 8" high and 5" in 
diam. at base, decorated with relief design 
with depressed background. 




69 



CHAPTER VIII 

Preparation of Materials — Clay for 
Modeling 

Clay taken from the bank may be easily 
prepared for modeling by first reducing it 
to a slip, straining it through a 60-mesh 
sieve and drying it out in plaster moulds. 
Inexpensive moulds may be made of Michi- 
gan plaster by making a clay model, either 
square or round, the size of the capacity de- 
sired, and the plaster poured over to about 
2" thick. When dry, the slip is poured into 
the mould, and the plaster absorbs the water 
rapidly. When hard enough the clay is 
worked on a board or plaster slab until in 
condition for use. 

Slip for Casting 
Casting slip should be of the consistency 
of thick cream. It is prepared by reducing 

70 



any dry clay, that will cast, to the right con- 
sistency by adding water and letting it stand 
until dissolved. It is then stirred and 
strained and is ready for use. 

Mixing Glazes 
Prepared glazes are put up ready for use 
by adding sufficient water to reduce them 
to the consistency of cream. The water is 
1 toured over the powder and allowed to stand 
until dissolved. It is then mixed until free 
from lumps. 

Underglaze Colors 

Underglaze color is a colored clay and has 
only a biscuit finish when fired. It must, 
therefore, have a glaze over it to give it the 
right effect. 

The colors are prepared full strength and 
must be mixed with clay to give different 
values. About -equal parts clay should be 
used to give the standard value of each color. 
In making tints, more clay should be used in 
proportion. 

For painting, the color is mixed with the 
clay and sufficient water to make it the con- 
sistency of artist's oil paints and ground on 
glass with a spatula. For inlaying, the mix- 
ture should be of the consistency of modeling 

71 



clay. The color should be applied while clay 
is damp. 

Plaster for Moulds 
In preparing plaster for a mould, it is 
necessary to know about how many pints or 
quarts of mixed plaster is needed to fill the 
space. If four quarts of plaster are needed, 
two quarts of water are placed in the mixing 
pan, and the plaster carefully shaken in 
from a scoop, not allowing any lumps to fall 
in. When the water is filled to the top with 
plaster, letting it settle naturally, stir until 
well mixed and pour immediately. 

Dope for Mould Making 
Take one-half bar of a 5-cent cake of ivory 
soap and shave it into fine shavings. Pour 
one-half pint of boiling water over the soap 
and let it simmer until the soap is dissolved. 
While hot, pour in one-half pint of refined 
lard-oil, and it is ready for use. 



72 



